The 2017 commissioned site-specific installation was part of the “Nothing to Declare: Transnational Narratives” exhibition at the Museum of Modern Art Tucson. All 400 windows on two sides of main galley were covered with the brick-image decals.
The 85 feet long and 7.5 feet high paper pulp brick wall was installed at the Museum of Contemporary Art San Diego as an intervention into an existing show. a wall then was curated by Chon Noriega and installed at the Los Angeles Art Show as a “special project” in 2017.
Visible from the sidewalk and passing cars on the street, this four-panel projection at Helmuth Projects in San Diego filled the storefront windows of the gallery. The 11 minute looped video screened continuously from dark to dawn for eight nights.
The nine minute trailer for the 70 minute public artwork, SOUTHERN CALIFORNIA: A CINEMURAL, was produced as a gallery installation for the 2011 Pacific Standard Time exhibition at the Getty Center that travelled to the Martin-Gropius Bau in Berlin in 2012. This trailer also screened at the Museum of Contemporary Art San Diego and Light Cone at Studio Ursulines in Paris, France.
Permanent video installation at the Mayor Thomas Bradley International Terminal of the Los Angeles International Airport that utilizes 58 computer controlled monitors. The images and sound work to describe a notion of “home” using the residential architecture of Los Angeles.
commissioned installation that intersected the U.S./Mexican border with paired drinking fountains and a window in the wall between them – online video and interview
InSITE97 (San Diego & Tijuana)
(with D. Small, E. Sisco, S. Kessler, and C. Lindley)
factory, store, mailed publication, website, and clothing series fabricated for and near the 1996 Republican National convention site in downtown San Diego
Museum of Contemporary Art Los Angeles
(with D. Small, E. Sisco, S. Kessler, and C. Lindley)
museum gallery showroom exhibition coupled with a bookstore sales installation
Museum of Contemporary Art, Los Angeles
(with E. Sisco and D. Avalos)
collaborative public media art project refunding $10 bills to 450 undocumented workers along the San Diego, California/Mexico border as a symbolic recognition of their contribution to the southern California economy
Museum of Contemporary Art San Diego and the Centro Cultural de La Raza for the La Frontera/The Border: Art About the Mexico/United States Border Experience exhibition
public media artwork w/ billboard, exhibition, book, panel, and performance addressing the unsolved serial killings of 45 San Diego women
Installation Gallery (San Diego)
gallery installation and performance derived from public artwork:
Cameraworks Gallery(San Francisco) & Highways (Los Angeles)
(with E. Sisco)
public media artwork with book publication considering the future of the newly granted “democracy” in the Canadian village of Banff
Walter Phillips Gallery (Banff, Canada)
AMERICA’S FINEST? 1990(with D. Small, E. Sisco, S. Kessler)
public media artwork using San Diego bus benches as a focal point for acommunity discussion of police killings
Installation Gallery (San Diego)
a) City b) Tourist Plantation c) Convention Center 1989
(with D. Small, E. Sisco, D. Avalos)
public media artwork with billboard
Installation Gallery (San Diego)
Spectracolor animated electronic billboard in Times Square
Public Art Fund (New York)
(with E. Sisco and D. Avalos)
public media artwork that used bus posters to provoke an acknowledgement of the necessary role undocumented Mexican labor played in servicing the local Super Bowl event
Installation Gallery (San Diego)
public art installation over the I-8 freeway leading into San Diego that ponders the proposed sale of federal park lands
Sushi Gallery (San Diego) and the Cinematheque (San Francisco)
This 16mm film, a tri-projected cinemural, premiered at the Los Angeles Institute of Contemporary Art – screened on a semi tractor trailer rig – followed by a number of public screenings sponsored by art museums. The cinemural is intended to run as a silent continuous loop on public walls or windows for 3 to 5 hours in the evening over a period of days. The triptych for public spaces offers a critical look at the mythological landscape of south California.
Carnegie Museum (Pittsburgh), Downtown Whitney Museum, Denver Art Museum, Pacific Film Archive (Berkeley), Getty Center (Los Angeles)
two gallery media installation considering the notion of the sublime and the desert landscape
Long Beach Art Museum, California State University, Long Beach
two screen video installation with spatialized sound
Museum of Contemporary Art Los Angeles through LAFreeWaves, Montalvo Arts Center, San Diego Art Institute
single channel version: Casa Cultura de Espana (Buenos Aires), Oberhausen Film Festival (Germany), Museo Del Reina Sofia (Madrid), Film Forum (Los Angeles), Neuberger Museum (Purchase, New York), Beurs van Berlage (Amsterdam)
(with E. Sisco and D. Avalos)
three media installations were derived from a collaborative public media project with the same title that refunded $10 bills to 450 undocumented workers along the San Diego, California/Mexico border as a symbolic recognition of their contribution to the southern California economy
San Juan Triennial (San Juan, Puerto Rico), Museo del Barrio (New York), Wexner Center (Columbus, Ohio), Baltimore Art Museum, Schroeder Romero Gallery (New York), Museum of Contemporary Art, San Diego, Museo del Palicio del Bellas Artes (Mexico City)
sculptural installations using strawberry baskets – 6.5′ x 9′ x 9′
University Art Gallery (San Diego), La Panadería (Mexico City), University Art Gallery (San Diego State University), University Art Museum, (Long Beach)
(with D. Small, E. Sisco, S. Kessler, and D. Avalos)
interactive installation with web-based component
Los Angeles County Museum of Art
sculptural installation of silk-screened glass and steel – 125″ x 67″ x 152″
University Art Gallery, Long Beach
media installation with green house considering Robert Poinsette’s intertwined political and botanical legacy
Ex Teresa (Mexico City)
media/surveillance installation at the U.S./Canadian border
Art Park (Lewiston, New York)
nine multimedia stations distributed throughout the Museum that were tied together by a video playing on a monitor in the lobby
Museum of the Moving Image (Astoria, New York)
(with E. Sisco and D. Avalos)
media installation with a banner, study desk, bus poster, and wall displays – based on the public artwork with the same title
Los Angeles Contemporary Art Exhibition (LACE)
multimedia video installation
Intermedia Arts Gallery (Minneapolis) & Winnipeg Art Gallery (Canada)
video installation with objects, surveillance cameras, and billboard fragments
Langton Arts (San Francisco)
mixed media installation with hand cranked 16mm film loop projectors
New Langton Arts (San Francisco) and Sushi Gallery (San Diego)